Hello dreamers, Next piece dropping later today 🤘

This is the downfall of democracy when you break a major election promise without a referendum... why even vote!?

GN everyone♥️ “Someone Else Was There” Sometimes two strangers carry the same feeling. They stand close, not to talk, just to share the silence. Reserve: 0.11 ETH on SR 🔗👇🏻

Ate too much chocolate and bought some art. Don't Be Such A Square by @KJerzykPhoto

An interesting read.

Morning ✨ Today, a year ago, I experienced a truly life-changing moment in my life and career. Primavera Digitale gave me the opportunity to exhibit "Obedientia" in Florence surrounded by friends who inspired me to dream big. As I said then, I went for the art and returned with unforgettable friends and stories. Thank you to everyone who made it possible! Le Temps Revient. @Sinbadilmarino @WaitHopeFound @30CamposEliseos @mariano_cuartas @RubyRhizome @nszcollections @ygbwrites

GM everyone💙 “𝐈 𝐋𝐞𝐭 𝐈𝐭 𝐓𝐚𝐤𝐞 𝐌𝐞”🐠 Reserve: 0.1 Ξ

oh beautiful auctions start at .05 eth on monday

🎨✨ Inauguració d’exposició a Reus! La presidenta de la @dipta_cat (Diputació de Tarragona) , Noemí Llauradó i Sans, us convida a l’acte d’inauguració de l’exposició. El dolor creatiu: art, dona i transformació, de Gala Mirissa. 📍 Palau Bofarull – Reus 📅 Divendres 6 de març 🕕 18 h – Xerrada “Els reptes i oportunitats per a les dones en el món digital”, a càrrec de Gala Mirissa, moderada per @HolaMariola 🕖 19 h – Acte d’inauguració EL DOLOR CREATIU: L´ART, DONA I TRANSFORMACIÓ en pantalles digitals. 🖼️ L’exposició es podrà visitar fins al 25 d’abril. El Dia Internacional de les Dones és una oportunitat per reivindicar la presència femenina en àmbits on històricament ha estat invisibilitzada. L’art digital és actualment un camp emergent que combina creativitat i tecnologia, i Gala Mirissa n’és una figura destacada en l’escenari global. La seva obra, que explora el dolor i la identitat, connecta amb la temàtica del projecte El Dolor Creatiu i amb la necessitat de donar veu a les emocions en un món hiperconnectat. A càrrec de Gala Mirissa i moderat per la periodista Mariola Dinarès. Una proposta que connecta art, experiència i transformació. *Les obres animades han sigut exposades a @EthereumDenver gràcies a @verse_works , NYC, @SuperRare i en Philadephia. “Absència” viatjarà a @nftcanarias , amb l’excepció de les dues obres físiques creades exclusivament per aquesta exhibició i mai exposades. Us hi esperem! —— Agraïments a @tinareig / Joan Dalmau / Maria Fe Merchan/ Rosa Comes —— Dedicat a ma mare i a la Gemma —— #artdigital #tecnologia #8M

Hi dear Cozomo and welcome dear @niftymonkee #ArtTank “The Usual Buffet” Every day comes with a menu. Some emotions are optional. Some are sold out. Some we never asked for. We still buy them. Reserve price: 0.1 ETH manifold.xyz/@ava

Thank you, thank you @m0dest___ for starting the auction on my meme painting “2nd Life”! Currently .11 ETH with 23 hours remaining. 🔗👇👇👇

OMG🤯 I got a second bid on 𝗪𝗲 𝗖𝗮𝗿𝗿𝘆 𝘁𝗵𝗲 𝗥𝗵𝘆𝘁𝗵𝗺 by dear @willcassidy 🖤 current bid: 0.11 eth first bid by @moodSlime_ 🖤 6 min left.

"Images create conditions for recognition and interpretation... They are records of acts of cognition." Harold Cohen Harold Cohen’s paper from 1979, What is an Image? anticipates later discussions about algorithms and the status of digital images in visual culture. His claim that images are “records of acts of cognition” shifts attention from representation to process, from what an image shows to how it comes into being. In this sense, AARON’s drawings function less as objects than as events. They can be seen as traces of perceptual reasoning enacted through a machine. Cohen concludes that an image refers to some aspect of the world while simultaneously referring to the cognitive act that produced it. This understanding situates image-making as a reflective activity: not the reproduction of appearances, but the construction of ways of seeing and knowing. Cohen’s work complicates the opposition between human creativity and technological mediation. AARON does not replace artistic agency; it reveals how structured, rule-based processes underpin all acts of image-making. His use of randomness illustrates this point. Randomness is not introduced to produce surprise but to sustain engagement. This in turn, makes each decision contingent and responsive rather than predetermined. The resulting drawings, though made by a machine, evoke the rhythms of human gesture and attention, suggesting that meaning can emerge from structured interaction rather than from conscious intention alone. Cohen’s main argument centers on the idea that images do not carry meaning because of what they depict but because of how they organize perception. Meaning arises through what he calls “image-mediated transactions,” the reciprocal relationship between viewer and image. Rather than transmitting fixed messages, images create conditions for recognition and interpretation. Against the notion that photography defines the “normal” form of visual representation, Cohen reasserts drawing as a mode of cognition in which marks gain significance through their internal relationships. In this view, the image is not a representation of the world, but a record of the mental process that recognizes it. AARON at Tsukuba, #4 26-5-85, 1985

Everyone needs a @0xdiid in their collection. The Challenge Ahead, a modified work of Robert S Duncanson, painted in America but reminds me of Australia, and the beacon of hope should speak to you wherever you're from.

Happy to have collected these artworks by @John_Thurman_1 & @avaaaaart today, check out their other available works of you get a chance.

GM everyone!💚 I’ve moved all my available works from FND to my own 𝐌𝐚𝐧𝐢𝐟𝐨𝐥𝐝 𝐬𝐦𝐚𝐫𝐭 𝐜𝐨𝐧𝐭𝐫𝐚𝐜𝐭. If any piece resonates with you, your support with a bid means a lot.🙏🏻✨

HabiTextures: An Archive of Lived Moments A new collection of 30 1/1s by @RichardNadler1 NOW LIVE on SuperRare ↓

Triptychs Collage @VanArman